Search results for: 'padam s e ea'

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

What do you make of a work of art? What was the artist attempting to communicate? These video shorts offer brief overviews on artists and their work in the way of expert opinions by scholars, curators art writers—and by the artists themselves. Learn More

Thirty years is not a long time in the life of an institution, especially when its scope of work is as overarching as DAG’s is. This short video encapsulates the gallery’s monumental journey, providing a snapshot of the prodigious work it has undertaken in such a short span of time.

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A great admirer of Indian modernist Rabin Mondal's works and curator of ‘Kingdom of Exile, a major retrospective on the artist, Kishore Singh of DAG is joined by Ina Puri, documentarian, collector and an old acquaintance of the artist as, together, they explore the circumstances of Mondal’s painterly life, particularly his vaunted King Series. A set of eight powerful paintings on the theme and hubris of power, now going on view at the upcoming Art Dubai 2022 Learn More

Have you wondered how people looked at paintings and photographs in the nineteenth century? For DAG’s annual Heritage Festival ‘The City as a Museum’, we explored various aspects of the city’s visual culture. As we are about to launch the DAG Journal let us revisit the walk co-led by Sarbajit Mitra and Amreeta Das at the Uttarpara Jaykrishna public library to delve into the periodical archive and trace the evolution of printed pictures in India. Flipping through the pages of these periodicals offered glimpses into the everyday habits of consuming art—from simple wood-cut and lithograph illustrations, to full plate colour reproductions of paintings and photographs, artist albums, and exquisitely ornate typography.

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As one of India’s most well-known artists, Tyeb Mehta still commands our attention for his commitment to experimentation. His ‘Diagonal series’ established him as a dynamic figure within the world of modern art, but how did this diagonal method come to be an important tool of composition in the last century? It all started with the invention of another compoitional tool called the 'rule of thirds'. Read below as we explore the origins of this artistic tool and see how it has evolved over time.

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Artists often proceed through a trial and error method—an incessant experimentation—leaving behind a singular trail of oeuvre composed of an irreconcilable, yet inseparable, set of works. Born in the small town of Sojitra in the Kheda district of Gujarat, Jeram Patel studied drawing and painting at Sir J. J. School of Art, Bombay. In 1959, excellence in his work led him to pursue commercial design at Central School of Arts and Crafts, London, on a scholarship, and also travel to France and Japan. Thereafter, he successfully held solo exhibition at various places in India and abroad, and participated in international events such as the Tokyo Biennale and Sao Paulo Art Biennale (both in 1963).

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At the turn of the twentieth century, Abanindranath Tagore asked himself if the emerging artists of modern India should continue to paint in the manner of their European colonizers; or was there a new path waiting to be forged? His answers led him to envision a pan-Asian cultural identity, spanning traditions from Persia to Japan, and culminating in a ‘new “Indian” art.’ Regarded as the founder of the Bengal School, Abanindranath left an unparalleled legacy both in terms of his own diverse body of work, and through his pupils, like Nandalal Bose, who shaped the contours of art across the subcontinent in the twentieth century.

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Ghare Baire was a museum-exhibition showcasing over 200 years of art in Bengal. Presented by DAG in collaboration with the National Gallery of Modern Art and the Archaeological Survey of India, the exhibition was housed at the historic Currency Building, across twelve galleries featuring over 700 artworks. The exhibition was the largest showcase of Bengal Art, presenting a panoramic view of the evolution of art in a region that has been critical to the development of Indian modern art. The exhibition starts with the arrival of the travelling European artists at a time of exchange between Bengal and the world. This confluence of cultures stimulated new visual languages as we see in the Kalighat pat,  the Bengal School, and the subsequent emergence of artists who fearlessly and freely experimented with form and subject, reshaping the trajectory of art in India.

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